Cinema has been a transnational medium from the very beginning, from immigrant talent in Hollywood to cross-border influences of directors on one another.

Table of Contents for World Cinema: A Critical Introduction

The final chapter, on polyvalence, is an equally significant step in a course on world cinema

The transformative effect of globalization has radically redefined the status of the nation as a relevant economic, political, and cultural unit instead giving currency to the terms ‘world,’ ‘global,’ and ‘transnational’ in descriptions of the current geopolitical map

Multiple cinemas of Asian countries–China, Hong Kong, Japan, Taiwan, Korea, and other East Asian countries–are often discussed in film studies under the rubric of ‘Asian cinema.’

Nollywood, the video-film industry from Nigeria, emerged on the scene in the early 1990s, when film industries around the world were going through major transformations of economy, production, and ideology.

For nearly four decades, Indian cinema has been a strong presence on the world stage largely due to the strength of its numbers alone.

Chapter 4 addresses the most salient feature of world cinema after the 1980s: the global boom and influence of international film festivals, which have become one of the biggest growth industries.

Chapter 3 offers an account of the main production models around the world

Chapter 2 traces different, and unevenly developed, practices and habits of watching films around the world

Chapter 1 offers a conceptual framework that navigates existing and emerging ideas in the field of world cinema, situated firmly in the context of its world literature and world music precedents.

The term ‘world cinema’ merely names an indisputable reality of the experiences of film practitioners, viewers, critics, students, teachers, and scholars